Eurovision 2016: Review: Netherlands: Douwe Bob: Slow Down

Going Dutch: Douwe Bob will slow it down in Stockholm

Following last year's inauspicious showing by the Dutch when Trijntje Oosterhuis failed to make the final, the Eurovision fortunes of The Netherlands this year are in the hands of the 23-year-old singer-songwriter, Douwe Bob. Another graduate of a reality TV show, he was chosen as the Dutch representative in late September last year. However, we all had to wait until the beginning of March to discover that the song he'll perform in Stockholm is called Slow Down.

The Netherlands return to the guitar-driven, laid-back country styling which The Common Linnets so satisfyingly provided in 2014 - only this time the rhythm and the melody possess a lighter, upbeat quality. Co-written by Douwe Bob, one can imagine sitting in an American bar somewhere in, say Tennessee, and this track playing in the background.

It's very simple in its construction, but also very instant. The hook in the chorus is strikingly memorable and the positive message to try and abandon many of the pressures of life is likely to resonate with much of the audience across Europe.

If there are any doubts about the entry, then the repetitive nature of the lyric in such a short song duration may not be to everyone's taste. However, Douwe Bob seems quite the charmer and if anyone can sell this song, then he can.

Of course, much of this entry's success will depend on its staging. Hans Pannecoucke, the Flemish video director, will return once more to help the Dutch in this respect following his involvement in 2014 and 2015. If his vision matches or exceeds the expectations of the Eurovision audience, then Slow Down should fly into the Final with ease.

Once there, the song could prove to be a surprise. Perhaps, not the revelation that The Common Linnets produced a couple of years ago, but an Anouk-style Top 10 finish is not out of the question.

What do you think?

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Eurovision 2016: Review: Israel: Hovi Star: Made of Stars

A rising star? Hovi heads to Stockholm

Israel, two-time victors at the Eurovision Song Contest, have had a torrid time over recent years trying to make the leap from semi-finalists to finalists.

Last year, an energetic performance by Nadav Guedj brought the country back to the top tier of the competition. Now, the baton has been passed to Hovi Star to continue this process of recovery with the song Made of Stars.

Star, real name Hovav Sekulets, has come to Eurovision via a now-familiar route: the TV reality show. Having taken part in Israel's version of Pop Idol  in 2009, he graduated to HaKokhav HaBa L'Eirovizion  in 2015 - the vehicle for naming the Israeli representative at the Eurovision Song Contest.

A public vote decreed that he would travel to Stockholm with his version of Made of Stars - originally a somewhat bland, ugly duckling of a song which has recently undergone a deserved, major revamp.

In a previous life, the song was something of a flat, unremarkable composition - a situation which the Israelis soon recognised. In mid-March a final version was released and the revision was striking. Sweeping strings were added to give the track an orchestral touch and these now dovetail nicely with Hovi's soaring vocals. The new structure allows the young singer to take what is now an uplifting ballad to a new level, making the chorus even more memorable than before. A swan is born.

The only problem is that this chorus - or at least the title - is locked in for most of the duration of the song. While some repetition is necessary for a Eurovision entry, Made of Stars relies much too heavily on certain phrasing and towards its climax the resulting tedium is extremely apparent.

Whether voters and juries will switch off mentally before it finishes is another matter. Previously superior Israeli entries have failed to impress and stumbled at the semi-final stages and Made of Stars is certainly no better than those. With a tough semi-final draw, Israel will need all the votes it can get and, at best, Hovi Star is very much a borderline qualifier.

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Image by אני צילמתי את התמונה בתצוגת האופנה של פיקס (אני צילמתי את התמונה בתצוגת האופנה של פיקס) [GFDL or CC BY-SA 3.0], via Wikimedia Commons

Eurovision 2016: Review: Armenia: Iveta Mukuchyan: LoveWave

Iveta: Riding the wave for Armenia

It's been more than six months since Armenia announced that Iveta Mukuchyan would be their representative in Stockholm. Finally, at the beginning of March, the song that she will sing was revealed as LoveWave - a co-composition with Lilith Navasardyan, Levon Navasardyan and Stephanie Crutchfield.

With six top ten placings since the country debuted in 2006, Armenia has long felt like a participant that’s getting ever closer to grabbing a well-deserved first victory. But can LoveWave succeed where other Armenian entries have failed?

In short, it's very unlikely. Even though Iveta has one of the better voices in this year's competition, the song is lacking the type of unforgettable hook that is usually required for a Eurovision victory. Actually, it takes several listens to the song before one can even vaguely recall how it went a few minutes after hearing it.

This is mainly so because LoveWave has no natural beginning, middle and end. It starts off with the spoken word before it transitions into a softly sung introduction: a beginning that bodes well. However, the listener is suddenly slapped around the face a number of times as Iveta is transformed into a wild banshee, hollering unintelligibly - all of which is interspersed with oooh-oohs that sound as if they may have been lifted directly from Michael Jackson's Earth Song. Then, just as suddenly, it's all over.

While this entry may not stick in people’s memories, Armenia is nevertheless one of those countries which tends to benefit from a widespread and far-flung diaspora. With televotes in the bag then, most probably it'll be down to the juries as to whether LoveWave qualifies from Semi-Final 1. Most likely, that will happen. But Iveta will then have a struggle to impress in the Final.

However, were this a beauty pageant, she'd win - hands down!

What do you think?

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Eurovision 2016: Review: France: Amir Haddad: J’ai cherché

Amir: In search of an elusive French Eurovision victory

Instead of the usual low-rent, three act national final transmitted on a backwater television channel, the new Team France have opted for an internal selection for Eurovision 2016. Hence, Amir Haddad will travel to Sweden with the song J'ai cherché, a catchy dance/pop track which has already attracted a lot of attention.

Amir's choice as French representative comes hot on the heels of his appearance on France's version of The Voice - on which he secured a very creditable third place - and a short spell on his home Top 100 with the hit, Oasis. J'ai cherché has followed it on to the chart but, as yet, has not made too much of an impression.

Originally released as the lead single to his new album Au cœur de moi, the track ticks many of the boxes to make it a success at Eurovision: it has an energetic, modern sing-along chorus - which has now been switched into English - as well as possessing a memorable foot tapping, hand clapping melody. Combine all of that with a singer who the camera loves, and France could be looking at its best placing since the beginning of the millennium when it pocketed back-to-back Top 5 places.

There has even been talk of a French win this year, which is not totally out of the question. Although France has strong rivals for a victory, it may be Amir's vocals which are the deciding factor. Recent live renditions of the song were not too promising, especially as it approached the final thirty seconds or so. However, any doubts should have been dispelled if his performance at the London Eurovision Party is any marker. He seemed much more relaxed and in control than ever before.

If he continues with that attitude, there's a distinct possibility that J'ai cherché could be playing over the end credits of Eurovision on May 14. It's been a long wait for France and a deserved win may be on the cards...

What do you think?

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Image by Eliora (Own work) [CC BY-SA 4.0], via Wikimedia Commons

Eurovision 2016: Review: Latvia: Justs: Heartbeat

The Heartbeat of Latvia: Justs to fly the Latvian flag in Stockholm

It was at the end of February when the Latvian public voted for Justs to represent their country at this year's Eurovision Song Contest with the song Heartbeat. It was a close-run decision with less than two thousand votes separating the young singer from runners-up, Catalepsia.

There was perhaps an air of inevitability surrounding his victory. Heartbeat is, of course, the brainchild of last year's successful Latvian participant, Animata, and features more than just a few of the electro elements which made Love Injected stand out.

Although there's a manufactured, even industrial, quality to the electronic chords which run through the song, it's Justs' enthusiastic - though vulnerable - vocal ability which adds both warmth and honesty to Heartbeat. There's a passionate, even explosive, chorus in which his tone reminds the listener of some of the freshest R&B singers of today. Combine that with the ultra-modern production values and he and his songwriter have conceived one of the most radio-friendly creations in this year's competition.

The big question is, of course, whether Latvia can win the competition with this song? Inevitable comparisons will be made to Animata's final position on the scoreboard in 2015 (6th), as well as Justs' proportionate ability to impress both the juries and the public.

Last year, Love Injected failed to do as well with the televote as it did with the juries, but Justs has the potential magnetism in both presentation and vocal ability to pull in votes on both fronts. Heartbeat may not be this year's winner, but a Top 3 finish is not entirely out of the question.

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Eurovision 2016: Review: Norway: Agnete: Icebreaker

It was nothing less than a complete slam dunk when the results were announced at the Melodi Grand Prix in Norway; Agnete had won by a two to one margin over the runner-up with her electropop entry, Icebreaker.

The 21-year-old singer/songwriter is no stranger to the limelight though, having led the teen band The BlackSheeps: the group's CV including a Number 1 song in their homeland and a runners-up berth at the 2011 MGP.

Not long after this appearance the band split, leaving Agnete to dabble in a few reality TV shows before her selection as one of the ten acts at this year's MGP.

She joins Swede Gabriel Alares and Brit Ian Curnow as a co-composer of Icebreaker, both seasoned (and successful) writers in their own right. In fact, Curnow has written for and produced a long list of well-known names, including Boyzone, Take That and Roxette as well as performing with the band Talk Talk and a variety of Stock, Aitken and Waterman artists.

So, there is some pedigree behind Norway's entry which mixes tempo and rhythm in a very contemporary package. The fragmented nature of the song has not been to everyone's taste, though. Some feel that it's a confused mess - a mash-up of two songs, while others applaud the unconventional flow of the track.

Still, some of its influences are quite obvious. Listen to any of Sia's recent output for confirmation. Even the staging at the national final appeared to be an idea poached from a previous outing by the Australian.

For all its apparent connections, though - count previous Eurovision entries from Sweden, Germany and Norway among them - Icebreaker sounds like nothing else in this year's competition. Yes, it has a disjointed feel about it, but the chorus is instantly captivating and the pretty Agnete carries off the whole package with a strong vocal, particularly in her higher register.

She'll also be aiming to maintain Norway's recent sequence of Top 10 finishes. Having secured a plum second half draw in the second semi-final, she's well on her way to achieving this.

Icebreaker may be something of a Marmite entry for some, but it should appeal to enough people to see it 'break' into a prominent position on the left-hand side of the scoreboard.

What do you think?

Image by Ernst Vikne (Flickr) [CC BY-SA 2.0], via Wikimedia Commons

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Eurovision 2016: Review: Slovenia: ManuElla: Blue & Red

ManuElla to fly the Slovenian flag in Stockholm

In a national final comprised of ten acts, the Slovenian public was very quickly left with a stark choice between Black and White or Blue and Red. In the end, by a small margin, the more colourful song from ManuElla was selected as Slovenia's entry in this year's Contest.

In the weeks since the end of February, this toe-tappin', Country-influenced piece of Americana has undergone some subtle changes in its production. It now sounds even more like a hybrid of the type of output one would expect from Taylor Swift and Carrie Underwood.

Add in some bluegrass banjo twanging and you could imagine that this might fare quite well on Billboard's Country Music chart.

Over recent years, the few who have tried this genre at Eurovision have managed quite well. The Common Linnets' surprise success immediately comes to mind, of course - but this owed as much to the staging as it did to the song. ManuElla's Country vibe, however, comes from a different place. Blue and Red is bereft of the moodiness and emotion which enveloped Calm After the Storm, instead opting for an upbeat offering which would also not sound out of place as a track on a Corrs' album.

As there's nothing particularly groundbreaking about the song (and, hopefully, ManuElla's vocals will improve slightly before May), Slovenia's chances may then be more dependent on how their entry is presented.

Apparently, the mid-song costume change has thankfully been ditched in favour of a more striking white dress. What other visuals Team Slovenia has up its sleeve remain to be seen of course, but it has been handed a reasonably good Semi-Final 2 second half draw.

Even so, at best, it feels as if Slovenia may struggle to qualify this year.

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Eurovision 2016: Review: Finland: Sandhja: Sing It Away

Sandhja will be singing away in Stockholm

When rockers Lordi won the Eurovision Song Contest for Finland for the first (and only) time in 2006, it finally felt as if the country had graduated to become one of the elite of the competition.

However, that promise has wilted somewhat over the past decade with only Softengine's 2014 effort making any kind of impression.

In the intervening years, Finland has tried pure pop, indie rock and even punk rock to try and win over voters, but all to no avail. This year their entry is provided by Sandhja who will take the funky dance-floor filler Sing It Away to Stockholm.

UMK was once again the local platform used to determine the country's finalist but, as it turned out, Sandhja was not the most convincing of winners. Scoring only enough votes with the public to secure third place, it was the ten juries  - composed of various sections of Finnish society - which elevated her to the winner's podium.

Could the Finnish public's unwillingness to vote for Sing It Away be the fact that this type of performance has been heard numerous times before without overwhelming success? After all, Finland is the land of the guitar and the rockers who wield them isn't it, not a country you immediately identify as clubland.

To give Sandhja her due, she knows how to use a stage - commanding it throughout the three minutes of the song. This professional approach gives a little more gravitas to a song that feels as if it has been dragged kicking and screaming out of the early 1990s - remember Ride on Time by Black Box?

It has exactly the same flavour as that song and should put Semi-Final 1 in a party mood when it kicks off the show in May. Whether it is memorable enough after seventeen more songs have followed is very questionable. Semi-Final 1 is tough enough anyway this year; Sandhja and her crew will really need to stand out if her retro dance tune has any hope of qualifying.

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Eurovision 2016: Review: Hungary: Freddie: Pioneer

Freddie: Heading for the Eurovision final?

In a year when former finalist the Kállay Saunders Band was considered a shoo-in to represent Hungary at the Eurovision Song Contest, the honour to wave the Hungarian flag in Stockholm instead fell to relative unknown Freddie with the song Pioneer.

He is yet another product of a reality TV singing competition, this time Hungary's version of the international television franchise, Rising Star.  Finishing fourth, he subsequently released the 2015 domestic hit single called Mary Joe which led to his participation at A Dal,  Hungary's platform for its Eurovision selection.

Pioneer managed to top the scoreboard in Heat 1 of the competition, as well as becoming the clear winner of his semi-final. Following an assured performance in the final, Freddie took the crown with points to spare.

It's perhaps not surprising as Freddie and his song are something of the 'full package' when it comes to Eurovision these days. There's as much - if not more - attention to the visuals as there is to the song, and Team Hungary can expect points galore on both fronts.

While Pioneer is hardly ground breaking, it does hold your attention throughout its entire duration. From the subliminal whistling technique at the beginning to the driving, anthemic chorus, it possesses a belting melody which quickly grabs your subconscious. You soon find yourself tapping your foot and humming along as if you've known the song for a long time.

In Eurovision terms, that's a winning formula. If you add into the mix a particularly photogenic singer along with an unusually athletic drummer, then there should be nothing holding back viewers from voting in their droves.

What might cause a few problems, particularly with the juries, is Freddie's tendency to get carried away with his vocals. His voice is gritty and strong, but at times he's inclined to shout and veer off key - a likely rationale for downgrading his points total.

What influence, if any, this has on his chances of a reasonable placing on the scoreboard is yet to be determined, but given that Pioneer and its singer have a lot in their favour, it wouldn't be a surprise to see it finish with a very respectable score.

What do you think?


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Eurovision 2016: Review: Moldova: Lidia Isac: Falling Stars

Will Lidia Isac's star fall in the semi-final?

At the end of February, Moldova was among five nations to pick its entry on a Super Saturday of national finals across Europe with Falling Stars by Lidia Isac becoming the choice of Moldovan televoters, but not their expert jury.

It's not surprising that there was a lack of unanimity over Falling Stars as it's a tediously generic dance tune with a total absence of originality. Add to that Lidia Isac's less-than-perfect vocals and stagecraft - unless you like wooden singers with nasal overtones - and Moldova is looking at missing out on the Final for a third successive year.

On the plus side, Lidia is rather easy on the eye, but that alone hasn't helped many prospective finalists in the past.

Clearly, between now and Lidia's appearance in the first half of the first semi-final urgent tweaks need to be made to the overall package. But it's unlikely that any changes to this forgettable piece of Euro pulp will be enough to secure a place in the running order of the big Saturday showdown.

What do you think?

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Eurovision 2016: Review: Italy: Francesca Michielin: No Degree of Separation

Will it be 'hats off' to Francesca Michielin in Stockholm?

Ever since Sanremo winners Stadio declined the opportunity to represent Italy at Eurovision 2016, it had been something of a mystery what runner-up Francesca Michielin would take to Stockholm as the country's entry. Finally, in mid-March, the Italians announced that a reworked version of Nessun grado di separazione (her Sanremo entry) had become their official song.

The updated adaptation shortens this uplifting ballad to the regulation three minutes, but also includes an English revamp of the final chorus, enabling a change of title to No Degree of Separation.

Purists seem to hate the alteration - Italy has been one of those nations which stubbornly refuses to send English lyrics to Eurovision - but for those who do not want to rely on the melody alone, they do help to make sense of the song.

The original version has already been very popular in her homeland, hitting Number 1 on the Italian charts, going Gold in the process. The question is "Can Francesca replicate that success at Eurovision?"

Well, the lyrical content embraces a well-trodden path at Eurovision: a difference in culture should not cause a distance between people. In other words, love, peace and harmony, man. The important thing though is how that message is wrapped up. No Degree of Separation is no A Little Peace (Ein bißchen Frieden) and we are far from the East/West Cold War which inspired that 1982 winner. There is still a much-needed imperative for those principles, but its doubtful that Francesca's song has the emotive hook to reel in the required number of votes for a victory.

What isn't in doubt is that No Degree of Separation possesses an alluring melody with a wonderful chorus. On its own, though, it just doesn't have the immediate impact that's required of a Eurovision winner. But we are promised a spectacular staging of the song from a renowned creative director; visuals are half the battle, so that may be the element which pushes this song into a deserved Top 10 finish.

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Eurovision 2016: Review: United Kingdom: Joe & Jake: You're Not Alone

Joe and Jake prove they're not alone

Fans of The Voice UK  with very good memories will recall these cheeky chappies who have now joined forces in the hope of pushing the United Kingdom to the dizzying heights of the left-hand side of the Eurovision scoreboard: Joe (Woolford) and Jake (Shakeshaft).

The day after Germany chose its entry, Joe and Jake were among six expectant acts at the 02 Forum in Kentish Town, London taking part in the first UK national final for several years, aptly named Eurovision: You Decide.  Performing last, their upbeat offering, You're Not Alone, captured the bulk of the British public's votes - the actual voting pattern has not been revealed - and will now see more action on the Eurovision stage in Stockholm.

Unlike many of the songs this year, this one is in its native language (ha!), but joking aside, You're Not Alone has a very laddish Britpop feel about it. Bouncing along at a rate of knots, at times Joe and Jake sound like a mixture of One Direction and Coldplay with a splash of The Wanted stirred in for good measure. Not surprising really as one of its writers is Siva Kaneswaran of said Wanted.

As a result, the song has a fresher, more youthful vibe than many of the UK's entries from the recent past and should appeal to a wide cross-section of the audience, especially younger voters who will be particularly engaged with the sound - as well as with Joe and Jake.

All good so far, then. But if there is a fly in the ointment, it could be Joe's live vocals and performance skills. His lower register sounded shaky throughout the duo's performance at the national final, though he shines when he steps up to deliver the energetic and memorable (uh-oh oh) chorus. However, stumbling around like a still-drunk teenager who has partied too much the night before is not going to cut it. Mind you, if the video presentation is a clue to the pair's staging in Stockholm, then perhaps this is not so much of a concern.

Hopefully, neither is the bottom quarter of the scoreboard.

Thankfully, the majority of the reaction to the song has been positive so far and given that this is one of the best entries the UK has fielded for a long time, a place in the Top 10 is not an unthinkable proposition.

What do you think?

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Eurovision 2016: Review: Germany: Jamie-Lee Kriewitz: Ghost

Jamie-Lee Kriewitz will provide a Ghost-ly presence in Stockholm

Is it really a month since the public in Germany chose Ghost by Jamie-Lee Kriewitz as its entry at this year's Eurovision Song Contest? It seems so.

It was back in late February when Unser Lied für Stockholm  was broadcast as the replacement for Unser Song für Xavier,  following Xavier Naidoo's dismissal from the selection process due to his political and homophobic views. Instead, ten acts were introduced to fill the gap, one of which was 18-year-old Jamie-Lee - better known at home as the winner of the latest season of The Voice of Germany.

She brought to the Eurovision national final the song Ghost, her winner's single from The Voice  - a track which had already seen Top 20 chart action in Germany.

It's actually one of this year's stronger efforts, even if there is something naggingly familiar about parts of the song. It's probably because of this that you quickly find yourself humming along to the mid-tempo refrain and tapping your foot to the infectiously rhythmic backbeat. In fact, the more you hear the song, the less it sounds like a typical Eurovision entry, but instead a rather polished and convincing début fashioned in the mould of her British counterpart Ella Henderson - whose first hit was coincidentally called Ghost.

Whether Jamie-Lee will enjoy the same magnitude of success with her Ghost is another matter. The young singer is quirky enough to stand out on the Stockholm stage: her Manga dress sense portrays an extrovert and colourful individual, while there are hints in her vocal delivery of a throwback to Germany's 2010 winner.

It seems, then, that the teenager has the personality to prevail in Sweden, while her song is accomplished enough to succeed. Its momentum is unquestionably dependent on a favourable draw, along with some appealing staging.

All in all, Ghost could give Germany a deservedly spirited finish near the top of the scoreboard - a more than satisfying way to erase the haunting memory of 2015's nil points disaster.

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Image by © Markus Felix | PushingPixels (Own work) [CC BY-SA 3.0], via Wikimedia Commons

Eurovision 2016: Review: Ukraine: Jamala: 1944

Jamala sings 1944

The Ukraine return to the Eurovision stage, following an understandable absence in 2015, with the slightly controversial offering from Jamala called 1944.

Written by the singer, the song concerns the expulsion of Crimean Tartars by Joseph Stalin during the latter stages of the Second World War. This caused loud rumblings from officials in Russia - as well as several politicians in Crimea - stating the lyrics were too politicised and a veiled effort to attack Russia for its decision to annex the Ukrainian peninsula.

Happily for Jamala, the EBU has recently quashed any complaints, instead deciding that the title and lyrics of 1944 do not breach any rules concerning political speech. This means we'll be able to hear the song in Stockholm, the events a personal inspiration for Jamala: her great-grandmother and her children were among the thousands deported from the Black Sea area into forced exile.

It's unlikely that the same fate will befall the naggingly pronounced rhythm of 1944. Performing in the second half of the second semi-final, the song has already picked up a lot of support - mainly from those sympathetic to the plight of Crimea, rather than for the quality of the song. As the staging of the Contest approaches, the story of 1944 will no doubt garner yet more media interest leading to further support from a wider public.

But is the song worthy of all this attention? Somewhat. 1944 benefits from not only a mesmerising arrangement but also a mesmerising interpretation from Jamala. Although a relatively static rendition, her arm movements -  as well as an intense vocal performance - cleverly draw the listener into the whole package, much as a snake charmer would hypnotise his serpent.

Nice Middle Eastern flavours then, as well as a chorus sung in Crimean Tartar, which will no doubt better impact voters located in Ukraine's immediate vicinity. Sadly, these traits are likely to be its downfall in a pan-European and commercial sense: the message seems unclear and the entire presentation lacks an obvious hook.

Consequently, Jamala is very unlikely to deliver Ukraine its second victory this year. The song is just not strong enough. It's sure to attract some much-needed sympathy votes, helping push it through its semi-final, but a spot on the left-hand side of the scoreboard seems remote.

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Eurovision 2016: Review: Bosnia & Herzegovina: Dalal, Deen, Ana & Jala: Ljubav je

Dalal Midhat, Deen, Jala and Croatian cellist, Ana Rucner

After a three-year absence, caused by financial difficulties, Bosnia and Herzegovina return to the Eurovision Song Contest with the internally-selected song, Ljubav je (Love is).

Not satisfied with just one artist, BandH have employed a four strong crew consisting of Dalal Midhat, Deen, Jala and Croatian cellist, Ana Rucner. Of course, Deen has previously appeared at the Contest when he secured ninth place with In the Disco, a song that couldn't be more different than Ljubav je.

Bosnia and Herzegovina have wisely discarded the campy dance music of 2004 for a more customary ballad, the kind of song that we are used to hearing from the region - only this one has a sting in the tail.

One of the few entries presented at this year's Contest in a native language, the song begins well with the drama of some ethnic-sounding strings provided by the cello of Ana Rucner. It's not long before the duet between the much-changed Deen and his singing partner Dalal kicks in, giving you that comfortable feeling that you are in familiar Balkan territory.

It all progresses quite pleasantly: the voices blend well, the melody is enjoyable, while the refrain in the chorus becomes quite memorable. Everything appears to have a semblance of sophistication until an unnecessarily hostile rap break, courtesy of local rapper Jala, interrupts the serenity of the performance.

According to Dalal and Deena, Ljubav je represents "a fusion of different musical styles, perfectly combined in one beautiful musical harmony. The song has elements of Balkan ballads, along with typically fierce pop rock and elements of classical, ethno and rap."

But is this a fusion too far? Rap, in general, does not do well at Eurovision, ordinarily alienating much of the Contest's audience. This particular example comes across as overly intimidating and offered up by someone who looks as if he has just arrived from Syria with a score to settle. Not the best way to gather points.

But Jala is a well-respected and well-liked hiphop artist in the Balkans, so BandH shouldn't really have any trouble picking up some votes from countries such as Montenegro, Croatia and Greece, all of which appear in their semi-final. However, much depends on whether the blend of elements in this song are likely to appeal to a wider audience - as well as the juries.

Should it qualify for the final, it's going to find it difficult to climb too far up the scoreboard. It's not a winner and a prospective Top 10 to Top 15 finish is also highly doubtful.

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Eurovision 2016: Review: Georgia: Nika Kocharov & Young Georgian Lolitaz: Midnight Gold

Nika Kocharov and Young Georgian Lolitaz to represent Georgia 

Each year, a Eurovision entry emerges which thoroughly challenges the perceived musical boundaries of the Contest. That's not to say that it's the worst contribution or the most unsuitable act, but the whole package just appears to be a bizarre choice. Generally, songs are selected for their broad appeal but entries like Georgia's Midnight Gold, from the exotically named Nika Kocharov and Young Georgian Lolitaz, make you scratch your head and ponder the point of their involvement.

Of course, musical diversity of all kinds should be encouraged at Eurovision – even if it is the cacophonous rock gymnastics of this group. But their style shouldn't really be a surprise when you consider the somewhat incomprehensible song remit for the group from the Georgian broadcaster: "a melodic song structure of alternative and indie rock with electronic beats, synths and/or samples, and club orientation of post-disco dance music." Whether Midnight Gold has achieved this is unclear, but it does seem like an odd selection of song nevertheless - never mind that there were rumblings of irregularities in the public vote.

While its qualification may be questionable, the song opens fairly effectively with some funky bass guitar accompanied by an okay rock vocal, but then proceeds to degenerate towards an uneven mish-mash of indie Brit-pop all wrapped up in brief forays into heavy rock. Unfortunately, each of these elements make Midnight Gold a patchy effort and not particularly likeable. While some may love the thrashing guitars, the feedback effects and the Liam Gallagher sound-alike, this entry is never likely to have sufficient general appeal to break out of its semi-final - even with a much needed revamp.

You have to give Georgia top marks for courage, though. Clearly, this song will be remembered by a segment of fans well after 2016's myriad of safe and unexceptional entries have been forgotten. However, although the Final may eventually need some shaking up, Midnight Gold is unlikely to be the song to do it. This one is doomed to end up on Eurovision's very glittery scrap heap.

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Eurovision 2016: Review: Iceland: Greta Salóme: Hear Them Calling

Greta Salóme will Hear Them Calling in Stockholm

You can always count on Iceland to provide Eurovision with an appealing contribution. The trend continues this year with Hear Them Calling sung by Contest "veteran", Greta Salóme.

Although Greta's previous experience of Eurovision was not as auspicious as it should have been - 2012's Never Forget with Jónsi deserved much better than its 20th place - hopefully, her time in Stockholm will prove more fruitful.

Over the past few years, none of Iceland's entries have managed to match Yohanna's second place in 2009, but Hear Them Calling could pluck the country out of the middle of the pack and lift them into a more satisfying position on the scoreboard.

While the song was not always the most popular throughout the Icelandic selection process, over time its reputation was enhanced by some compelling support from within the Eurovision bubble. In fact, at the time of its selection, Hear Them Calling was considered the best of the (then current) bunch.

It's not hard to appreciate why. Greta is now a seasoned artist who possesses impressive vocals and, with the help of some back projection imagery, she not only sings the entry but also acts it out as well. This makes for some understandable comparisons to last year's Swedish package which accompanied the winning song by Måns Zelmerlöw.

It's not just the graphics, though. There are parts of the Icelandic entry which have clearly been influenced by both Heroes and Loreen's Euphoria, as well as portions of David Guetta's and Aviici's back catalogues. Inevitably, this mélange combines to make the drama of Hear Them Calling into something which seems naggingly familiar; a lively toe-tapper with a strong melody and a memorable refrain.

Marry up all these elements and it's going to sound good and look impressive on stage - even if the symbolism of the pseudo-Gothic imagery is difficult to grasp. Of course, for a lot of Eurovision entries the presentation is half the battle for points but whether Greta's over-exaggerated movements, combined with the confusing graphics, will act as a disconnect with the audience is up for debate.

If it's all seen as a positive, then a berth in the upper reaches of the scoreboard seems assured for Iceland this year. If there's any justice, the song alone should guarantee this. Perhaps a Top 5 finish is a possibility?

What are your thoughts?

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Eurovision 2016: Review: Denmark: Lighthouse X: Soldiers of Love

Lighthouse X will soldier on for Denmark

Even with Emmelie de Forest's name on the writing credits of one of Dansk Melodi Grand Prix's finalists, the Danish public instead preferred the wholesome look and sound of Lighthouse X with their song, Soldiers of Love.

Mind you, it was a close run thing. Anja Nissen managed to sing her way into the runners-up position with the aforementioned Emmelie's co-composed Never Alone, scoring 36% of the public vote against the victor's 42% - both pushing Simone's Heart Shaped Hole into a distant third place.

In fact, pre-final opinion seemed to favour either of the two girls to progress, but shaky vocals and inferior presentations were the nails in their respective coffins. That's not to say that Lighthouse X were particularly special in either of those departments. It's just their appeal lay with a different, and more voter-friendly, demographic.

That said, Soldiers of Love is not all bad. It has a rousing chorus, which gets into your head after a couple of listens and, with the right staging, the whole package could become quite memorable.

The problem, though, is with Lighthouse X themselves. Last year, Denmark went for a 60s beat group pastiche which ultimately flopped in the semi-finals. This year, these three lads are trying hard to be the country's version of Take That. Unfortunately, they possess neither the live vocal quality nor the unquestionable charisma of the British boyband.

While the song may be more current than Denmark's 2015 effort, nevertheless the whole concept harks back to Take That's heyday of the 1990s - only it's more beige and predictable than it is bold.

While this safe attitude will likely see the boys qualify from their semi-final - the second half of the second one - it's unlikely to see them score well in the final. At best, this entry is destined for a mid-table finish.

What do you think?

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Eurovision 2016: Review: Cyprus: Minus One: Alter Ego

Minus One will fly the Cypriot flag in Stockholm

Having failed to win the ticket to the Eurovision semis in 2015, rock band Minus One have been picked internally to represent Cyprus in 2016 with the co-composed Thomas G:Son track, Alter Ego.

Cyprus's fortunes since the introduction of the semi-finals have been, to say the least, patchy. Just three final appearances in nine attempts, including last year's plaintive ballad from Giannis Karagiannis called One Thing I Should Have Done.

Minus One will hope to continue where Karagiannis left off and climb the scoreboard further - albeit with a completely different sound. Where last year's somewhat comatose entry may have been guilty of sending you to sleep, the driving pop/rock of Alter Ego is likely to hold your attention, particularly if it is staged well.

It's liable to be compared to the type of song that Imagine Dragons or The Killers may have tucked away on one of their albums. No bad thing, to be honest. It's commercial and well produced. Indeed, as you would expect, with contributions from some of the Swedish Eurovision gentry, the sound is slick and radio-friendly, if otherwise rather sanitised.

Of course, this judgement is based on the polished video take of the song. On stage, Minus One are known for their unrelenting energy and  remarkable chemistry, so a more unrestrained presentation in Stockholm may win over any non-believers.

Regardless, Alter Ego should lift the roof off the Ericsson Globe in May by effortlessly engaging the flag-waving crowd. If there's any justice, a Top 10 placing could easily be achieved - if not a berth in the Top 5.

One of 2016's best offerings. What do you think?

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Eurovision 2016: Review: Switzerland: Rykka: The Last of Our Kind

Rykka is a Vancouver-based singer who has received
several nominations for music awards in Canada

After what seemed like months of Eurovision haggling, the Swiss selection for the 2016 Contest came down to a six horse race where Rykka, with The Last of Our Kind, was chosen to represent the country.

The Canadian-born singer has all the elements to make a big impression in the world of pop: she has the look of a young Kim Wilde, the vulnerability and sexiness of Marilyn Monroe - all wrapped in the energy of Pink and Sia.

While performance and perception are a huge part in helping an artist on their way to stardom, so is the delivery of the product.

In Rykka's case - most definitely in her live rendition of The Last of Our Kind - her bid for stardom could easily be derailed. The song itself wants to be liked - and in many respects it is likeable, if not loveable. However, it's Rykka's vocals which make you want to turn down the volume or switch it off altogether.

Yet the studio version is a wholly different kettle of fish. It sounds fresh and modern and, most importantly, in tune! Here, Rykka's voice is more mesmerising than mutilating. Her vocals mix well with the mid-tempo melody which eventually cajoles its way into your subconscious. Just as you reach the second chorus, you find yourself humming along to the song - something it was difficult to achieve during the live final.

Therein lies Switzerland's problem: a good song sung by a not so good live singer. If Rykka repeats what was heard during the Swiss national final, it's highly unlikely The Last of Our Kind will participate in Stockholm's arena on May 14. Improve the vocals, however, and the song could surprise everyone.

What do you think?

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